Issue link: https://digital.copcomm.com/i/1512183
52 M PS E . O R G Atmosfera editing studio 204 at Mosfilm, Moscow. 2021, Atmosfera © move on to other projects and we'd assemble a new team, often having to start from scratch This was highly distracting from the creative process. Even something as basic as organizing material had to be explained over and over again. Not to mention more serious matters that directly influenced the end result of our work. This became the decisive factor to establish our studio Atmosfera in 2017. My facilities weren't big enough and we began searching for a space suitable for 12-15 workstations. Given our noisy specialty, this was no easy task, and standalone buildings implied quite a high rent. Fate then presented us with a gift. At Mosfilm, which I had left back in 2009, the Old Tonstudio building was vacant. It had been renovated in 2005 and since then, a mixing stage and a Foley studio were used occasionally. We managed to rent the remaining space, including two premix rooms with good acoustics but outdated equipment. Renovation and acoustic finishing took about a month during which we purchased and installed most of the equipment in the central server room. In total, we built nine 7.1 editing suits and three 7.1 pre- mixing studios. All workstations were interconnected through a unified Dante network via Dante Virtual Soundcard, and BSS BLU processors with ethernet controllers enabled efficient setup and monitoring control. We decided to form our team from the best freelancers we had recently worked with and students I taught at VGIK. Building upon our experience of working together in the mixing stage, we decided to experiment with a combined editing suite which would have two workstations and shared monitoring. We also added Recording Foley crowd movements for Viking 2016 at CineLab Moscow. Stepan Sevastianov, Nikita Esipov, Dmitry Boyarintsev, engineer Anton Savichev, Foley artists Natalia Zueva, Karima Khismatulina, Ivan Savelyev. Atmosfera Studio © The Duelist produced by Alexander Rodnyansky, Viking, and Union of Salvation. Pavel met and worked with Vincent on these projects, and our team began to take shape. We always tried to work together, accumulating and multiplying our experiences and complementing each other. Overall, our approach remained standard—we looked for freelancers for the project and assembled a team where I was responsible for design and supervision and Pavel for premixing and mixing the picture. Details changed, but the main issue—the rotation of the team—remained. Just when you explained everything— how we work, what we do and why— the project would end, people would